Who feel everything and everything has feeling."In My Head, the debut release of one of Instagram's most popular poets whose writing has been liked by millions, dives below the surface of love, loss, and life.J.M. Storm has crafted a haunting yet hopeful poetry collection that is meant to be felt as much as it is read.

    Navigate easily to any chapter, section or poem from Table of Contents or search for the words or phrases. Features Navigate from Table of Contents or search for words or phrases Make bookmarks, notes, highlights Access the e-book anytime, anywhere - at home, on the train, in the subway. Table of Contents Complete Prose WorksDrum TapsLeaves of Grass AppendixList of Works in Alphabetical Order Walt Whitman Biography

    . . has a gritty realism infused with a sense of the marvelous." --Edward Hirsch, The Washington Post In a city like that one might sailthrough life led by a runaway hat.The young scattered in whatever directionstheir wild hair pointed and, gustinginto one another, they fell in love.-from "Windy City"In his second book of poems, Stuart Dybek finds vitality in the same vibrant imagery that animates his celebrated works of fiction. The poems of Streets in Their Own Ink map the internal geographies of characters who inhabit severe and often savage city streets, finding there a tension that transfigures past and present, memory and fantasy, sin and sanctity, nostalgia and the need to forget. Full of music and ecstasy, they consecrate a shadowed, alternate city of dreams and retrospection that parallels a modern city of hard realities. Ever present is Dybek's signature talent for translating "extreme and fantastic events into a fabulous dailiness, as though the extraordinary were everywhere around us if only someone would tell us where to look" (Geoffrey Wolff).

    Rogue's collection Rouge, the bestselling author shares her original and early typewritten work posted on Instagram, Facebook, and Pinterest. In this collection, you will find writing touching on varying topics such as love, loss, heartache, hope, and tenderness.

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.

    Between the two poles of uncritical embrace and outright rejection of these conclusions, is there a third way? Can evangelical believers incorporate the insights of biblical criticism while at the same time maintaining a high view of Scripture and a vital faith? In this provocative book, Kenton Sparks argues that the insights from historical and biblical criticism can indeed be valuable to evangelicals and may even yield solutions to difficult issues in biblical studies while avoiding pat answers. This constructive response to biblical criticism includes taking seriously both the divine and the human aspects of the Bible and acknowledging the diversity that exists in the biblical texts.

    All you do is sit down at a typewriter and bleed.” -Ernest Hemmingway I don’t lead the kind of life that should be written about. I’ve done terrible things and lived a hundred lives, running away from my problems. That defines me, I guess. An escapist. Maybe I’m just messed up. Whatever the case, this is my confession. These are my truths. I give to you my uncensored life- my heart on a platter. I have sat down at my typewriter. Watch the words form from the blood that pours forth. -R.J. Avenira

    Even people who have tried other books without success have learned to read Hebrew using this book. Here's what makes it different: * Fun memory tricks make it super simple to remember the sounds of the letters * Pace - The book is divided into 12 simple lessons. Two a week for 6 weeks. * The cheerful style of the book is great for adults and children alike. * From week one you are given words you can read from the Hebrew Bible! * The charming illustrations make learning Hebrew a pleasure. At the end of six weeks you WILL be able to read from the original Hebrew Bible, Psalms or the Siddur (Jewish prayer book) and you will have taken the first big step towards learning the Hebrew Language!

    Find yourself in the middle of torrid love affairs, undying devotion, and scandalous betrayal as you uncover long-lost correspondences between lovers.From great Kings to War Heroes to Philosophers, spanning a period of five centuries, this collection illustrates that the human desires of sex and love were as powerful then as they are now.

    The major works of the movement’s six most famous poets—William Wordsworth, George Gordon Byron, Percy Bysshe Shelley, Samuel Taylor Coleridge, John Keats, and William Blake—are represented in this handsome Word Cloud Classics volume, The Romantic Poets. One of the largest and most influential artistic movements in history, Romanticism valued intuition and pastoralism, and its themes are well represented in the verse of its stars.

    . . . By turns clowning, worshipful, heartbroken, and Faulknerian, these lyrics transport the reader to a familiar place made utterly strange.”—Srikanth Reddy Kiki Petrosino earned graduate degrees from both the University of Chicago and the Iowa Writers’ Workshop. Her poem, “You Have Made a Career of Not Listening,” was featured in the anthology Best New Poets 2006. She lives in Iowa City.

    The poems in Accepting the Disaster range from lyric miniatures like "The Crossroads," a six-line sketch of an accident scene, to "The Orange Bottle," an expansive narrative page-turner whose main character suffers a psychotic episode after quitting medication. Mehigan blends the naturalistic milieu of such great chroniclers of American life as Stephen Crane and Studs Terkel with the cinematic menace and wonder of Fritz Lang. Balanced by the music of his verse, this unusual combination brings an eerie resonance to the real lives and institutions it evokes. These poems capture with equal tact the sinister quiet of a deserted Main Street, the tragic grandiosity of Michael Jackson, the loneliness of a self-loathing professor, the din of a cement factory, and the saving grandeur of the natural world. This much-anticipated second collection is the work of a nearly unrivaled craftsman, whose first book was called by Poetry "a work of some poise and finish, by turns delicate and robust."

    Lara Glenum was raised in the gothic South, studied at the University of Chicago and the University of Virgina, and now teaches at the University of Georgia. In this entirely unheimlich debut, she enters the stage of American poetry like a Fritz Lang glamor-girl-cum-anatomical-model. Glenum recovers the political intensity and daring of the Surrealist project. The extraordinary precision of these poems is so stunning, we can't help but feel blinded by their visions: sock-monkeys, dollhouses, and a circus made of meat vibrate between the playful and the brutal so deftly, each line is a perfect shard of some fantastic planet, gloriously and sadly like our own. As in Blake's apocalyptic images, the sky rolls itself up like a scroll--brilliant in its colors and infinite in its scope. Glorious!--D.A. Powell.

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.